with Makers 漆で描く、ORIGAMIドリッパー。丸嘉小坂漆器店とのものづくり

with Makers
Expressed in Lacquer: The ORIGAMI Dripper

Craftsmanship with Maruyoshi Kosaka

Maruyoshi Kosaka

Third-Generation Craftsman: Reo Kosaka / Lacquer Artisan: Chie Kosaka

The ”with Makers” project was launched by ORIGAMI in 2024.

”with Makers” represents our new challenge as a Mino ware manufacturer—engaging in collaborations that cross regions and industries. Through ORIGAMI products, we aim to share the culture of Japanese craftsmanship.

By understanding the production background and the makers behind them, we hope people will cherish and love their products for a long time.

We want to bring the joy of coffee to even more people.

This project was born from those very wishes.

For this installment, we collaborated with Maruyoshi Kosaka from Kiso-Hirasawa, Nagano Prefecture. They have crafted a beautifully striped dripper, a glass server showcasing exquisite lacquer craftsmanship, and a dripper holder.

In this article, we would like to introduce the world of Kiso lacquerware and the exceptional work of Maruyoshi Kosaka.

What is Lacquerware? A Traditional Craft That Has Been Part of Japanese Life

A lacquer tree after the sap has been harvested

Lacquerware, one of Japan’s most iconic traditional crafts, refers to vessels coated with multiple layers of sap harvested from lacquer trees (Urushi).

Once impurities are removed from the collected sap, it becomes ”Ki-urushi” (raw lacquer). This can be used as a coating in its natural state, or further refined into transparent ”Suki-urushi” (clear lacquer), or combined with pigments to create ”Iro-urushi” (colored lacquer).

Characterized by its durability and antibacterial properties, lacquerware is lightweight yet sturdy, and provides excellent thermal insulation.

Because it remains comfortable to hold even when filled with hot food and offers a gentle mouthfeel, it has long been cherished as an essential part of daily dining.

While it is sensitive to ultraviolet light, lacquerware made by coating natural materials like wood is highly sustainable; when buried in the soil, it decomposes naturally through exposure to UV light and microorganisms, returning completely to nature.

During the Edo period, lacquerware production flourished as a regional industry, giving rise to numerous renowned lacquerware heritage sites across Japan.

For this installment, we shine a spotlight on ”Kiso Lacquerware” from the Kiso region in Nagano Prefecture—located just a short distance from the home of ORIGAMI in Gifu Prefecture.

What is Kiso Lacquerware? A 400-Year Tradition of Kiso's Lacquer Culture

Kiso lacquerware is produced primarily in the Kiso-Hirasawa area of Shiojiri City, Nagano Prefecture, with a rich history dating back to the Muromachi period.

Crafted using the "Kiso Goboku" (the five sacred trees of Kiso: cypress, sawara cypress, asunaro, koyamaki, and nezuko) as a base, it frequently employs the "Suri-urushi" (wiped lacquer) technique. This method involves applying multiple thin layers of raw lacquer to protect the wood while beautifully accentuating its natural grain.

In the early Meiji period, a local discovery of "Sabi-tsuchi" (an iron-rich clay) revolutionized the craft when it began to be used as a base coat material. This clay significantly strengthened the foundation, giving rise to incredibly durable lacquerware.

While some regional styles like Wajima-nuri developed as lavish items intended for presentation to nobility, Kiso lacquerware evolved as practical ware deeply intertwined with daily life, resulting in everyday essentials like buckets and bento boxes.

Kiso-Hirasawa: The Town of Lacquerware

Maruyoshi Kosaka is located in Kiso-Hirasawa, a small town along the old Nakasendo highway surrounded by the deep forests of the Kiso Valley.

The old Nakasendo was one of the Five Highways of the Edo period, a route of approximately 534 km connecting Nihonbashi in Tokyo with Sanjo Ohashi in Kyoto via the mountainous regions of Nagano and Gifu.

During the Edo period, Kiso lacquerware developed as a thriving local industry in the rugged, mountain-ringed Kiso Valley, drawing upon the region's abundant forest resources.

Transported across the country via the Nakasendo highway, Kiso lacquerware became widely cherished by people from all walks of life.

Situated between the post towns of Niekawa-juku and Narai-juku, Kiso-Hirasawa remains a vibrant ”lacquer town” where numerous lacquerware shops and workshops line the streets today. The townscape has been designated as an Important Preservation District for Groups of Traditional Buildings by the national government.

Every year in June and October, the Kiso Lacquerware Festival draws visitors from across Japan, all searching for exceptional pieces crafted by local artisans.

About Maruyoshi Kosaka: Carrying Forward the Lacquer Tradition in Kiso

Maruyoshi Kosaka was founded in 1945 by its first-generation craftsman, Yoshio Kosaka.

Born into a branch of the Kosaka family, which had been engaged in lacquerware making for generations, Yoshio started the business as a workshop specializing in lacquer base coating and top coating, laying the foundation for Maruyoshi Kosaka.

The second-generation artisan, Yasuto Kosaka, introduced the technique of ”Kuro-roiro-nuri” (mirror-black lacquer finish), which is considered the pinnacle of lacquer top-coating techniques. He supported the Kiso lacquerware industry primarily by producing commercial-use ware. Following the collapse of the economic bubble in the early 1990s, he made a major strategic shift to an integrated system, handling everything from manufacturing to sales in-house.

Today, the business has been passed down to the third-generation craftsman, Reo Kosaka.

By incorporating woodworking techniques and honoring the lacquer methods inherited from his predecessors, he values the traditions of Kiso lacquerware while embracing the challenge of creating new lacquerware that seamlessly fits into modern lifestyles.

The Craftsmanship of Maruyoshi Kosaka: Woodworking and Glass Lacquer Techniques

The Work of a Kijishi (Wood-Turning Artisan)

In the world of lacquerware production, work is typically divided between the "Nushi" (lacquer coating artisan) and the "Kijishi" (wood-turning artisan).

At Maruyoshi Kosaka, however, both steps are handled seamlessly in-house.

"Magemono" (bentwoodware), which Maruyoshi Kosaka also creates, is a traditional Japanese woodworking craft made by bending thinly shaved wood into circular or oval shapes.

The process begins with a technique called "Mikan-wari" (mandarin-orange splitting) to cut the logs into timber. Incisions are made into the wood with a blade, and it is then split by hand from those cuts to create even thinner boards.

These resulting boards are then boiled in hot water to soften the wood fibers, making them pliable and ready for bending.

Next, the wood is bent carefully along a specialized mold, secured with wooden clamps, and left to dry. Once fully dried and bonded, the side panels used for items like bento boxes are complete.

The leaves of the ”Kiso Goboku”—Hinoki, Sawara, Asunaro, Koyamaki, and Nezuko.
Except for the Koyamaki leaf on the far right, they look so remarkably similar that even professionals can mistake them without seeing the tree trunks.

While their leaves may closely resemble one another, each wood possesses a distinct and characteristic aroma. Walking into Maruyoshi Kosaka's woodworking workshop, you are instantly enveloped in a fresh, verdant scent that makes you feel as though you have stepped right into the heart of a forest.

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The Work of a Nurishi (Lacquer Coating Artisan)

Maruyoshi Kosaka originally focused on manufacturing lacquered furniture, such as tables and chairs, which were primarily sold at department store exhibition events.

The major turning point came with the development of "Urushi-Glass" (lacquered glass) by the second-generation artisan, Yasuto Kosaka.

To push this technology even further, the third-generation craftsman, Reo Kosaka, launched the in-house brand "hyakushiki" in 2013.

At the time, Urushi-Glass mostly consisted of wine glasses and other sake vessels coated in simple, solid-colored lacquer.

However, by collaborating with designers to introduce fresh perspectives and vibrant color expressions, the potential of artistic expression through lacquer expanded dramatically.

Today, the brand offers a diverse lineup of products that seamlessly blend into modern lifestyles, featuring glass plates, bowls, and cups beautifully adorned with hand-painted lacquer work.

The ”Obiwa Tray” features a beautiful harmony between the pleasant texture of bentwood made from Kiso cypress and the patterned clear lacquer applied to the glass.

Born from the fusion of Maruyoshi Kosaka's dual expertise—woodworking and lacquered glass—this exquisite piece truly embodies the brand’s unique identity.

Collaboration with ORIGAMI: Key Craftsmanship Highlights

Dripper S: [ao] and [fuji]

The ribbed design that defines the iconic ORIGAMI Dripper beautifully balances aesthetics and functionality. However, its complex shape makes it notoriously difficult to apply patterns using conventional ceramic decoration techniques.

That is when we turned our attention to the ”Urushi-Glass” (lacquered glass) technology pioneered by Maruyoshi Kosaka.

We realized that this specialized technique of baking lacquer onto glass could unlock completely new forms of expression, even on a dripper finished with a glassy ceramic glaze.

Furthermore, when we saw the striped bowls and cups from Maruyoshi Kosaka’s signature brand, ”hyakushiki,” we felt inspired by the idea of bringing that exact visual artistry to the ORIGAMI Dripper.

It was from this creative spark that our collaboration truly began.

For this exclusive release, we chose the Dripper S in Matte Black and Matte Pink as our canvases, each adorned with exquisite, hand-painted lacquer work.

The fusion of ORIGAMI’s signature ribbed contours and the elegant lacquer stripes has resulted in a collection of drippers with an unprecedented, captivating character.

”Unlike the glass surfaces we usually work with, the textured finish of the dripper naturally absorbs the lacquer, which made it quite challenging until I got a feel for the material,” reflects lacquer artisan Chie Kosaka.

Furthermore, because the shape is completely different from the vessels she normally decorates, she had to paint each line individually along the ribs, which meant the angle of the brush shifted with every single stroke. It reportedly took considerable time to master that subtle tactile sensation.

The names of this collection’s colorways, ”ao” and ”fuji,” were also personally chosen by Ms. Kosaka.

”ao” (deep green-blue) uses a fresh, vibrant teal to capture the essence of Kiso’s lush, densely forested mountains.
”fuji” (wisteria) features layered coats of purple and pink lacquer, evoking the image of gracefully blooming wisteria flowers.

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Aroma Glass Server [Stripes]: [ao] and [fuji]

To complement the drippers, we also had the Aroma Glass Servers beautifully adorned with hand-painted lacquer decoration.

In contrast to the delicate, light stripes on the drippers, the servers feature bold, sweeping lines.

By pairing the two items together, you can enjoy the captivating interplay of their distinct visual characters.

While these strokes may look fluid and effortlessly bold at first glance, they are actually the product of meticulous, highly refined technique.

If applied too thickly, lacquer can develop wrinkles on the surface of the coating. To prevent this, each line is carefully painted, stroke by stroke, with absolute attention paid to ensuring an even and uniform thickness.